Her birth date is controversial as birth registration was not enforced throughout the Arab world. The Egyptian Ministry of Information seems to have given either December 31, , or December 31, At a young age, she showed exceptional singing talent. Her father, an Imam , taught her to recite the Qur'an , and she is said to have memorized the entire book. When she was 12 years old, her father disguised her as a young boy and entered her in a small performing troupe that he directed.

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Her birth date is controversial as birth registration was not enforced throughout the Arab world. The Egyptian Ministry of Information seems to have given either December 31, , or December 31, At a young age, she showed exceptional singing talent. Her father, an Imam , taught her to recite the Qur'an , and she is said to have memorized the entire book. When she was 12 years old, her father disguised her as a young boy and entered her in a small performing troupe that he directed.

At the age of 16 she was noticed by Abol Ela Mohamed, a modestly famous singer, who taught her the old classical repertoire. A few years later, she met the famous composer and oudist Zakariyya Ahmad , who invited her to come to Cairo. Although she made several visits to Cairo in the early s, she waited until before permanently moving there.

She was invited on several occasions to the house of Amin Beh Al Mahdy, who taught her how to play the oud lute. She developed a very close relationship to Rawheya Al Mahdi, daughter of Amin, and became her closest friend.

Kulthum even attended Rawheya's daughter's wedding, although she always tried to avoid public appearances. Amin Al Mahdi introduced her to the cultural circles in Cairo. In Cairo, she carefully avoided succumbing to the attractions of the bohemian lifestyle, and indeed throughout her life stressed her pride in her humble origins and espousal of conservative values.

She also maintained a tightly managed public image, which undoubtedly added to her allure. At this point in her career, she was introduced to the famous poet Ahmad Rami , who wrote songs for her. Rami also introduced her to French literature , which he greatly admired from his studies at the Sorbonne , Paris , and eventually became her head mentor in Arabic literature and literary analysis.

Furthermore, she was introduced to the renowned oud virtuoso and composer Mohamed El Qasabgi. El Qasabgi introduced Umm Kulthum to the Arabic Theatre Palace, where she would experience her first real public success.

In , her fame increased to the point where she embarked upon a large tour of the Middle East , touring such cities as Damascus , Syria; Baghdad , Iraq; Beirut and Tripoli, Lebanon. During her early career years, she faced staunch competition from two prominent singers: Mounira El-Mahdiya and Fathiyya Ahmad, who had equally beautiful and powerful voices.

However, Mounira had poor control over her voice and Fathiyya lacked the emotive vocal impact that Umm Kulthum's voice had. The presence of all these enabling vocal characteristics attracted the most famous composers, musicians, and lyricists to work with Umm Kulthum. In the mid s, Mohammad el Qasabgi, who was the most virtuosic oud player and one of the most accomplished yet understated Arab composers of the 20th century, formed her small orchestra takht composed of the most virtuosic instrumentalists.

Furthermore, unlike most of her contemporary artists who held private concerts, Umm Kulthum's performances were open to the general public, which contributed to the transition from classical and often elitist to popular Arabic music. By , Umm Kulthum must have been the most famous singer in Egypt to be chosen as the artist to inaugurate Radio Cairo with her voice on May Over the second half of the s, two initiatives will seal the fate of Umm Kulthum as the most popular and famous Arab singer: her appearances in musical movies and the live broadcasting of her concerts performed on the first Thursday of each month of her musical season from October to June.

Her influence kept growing and expanding beyond the artistic scene: the reigning royal family would request private concerts and even attend her public performances. In , King Farouk I of Egypt decorated her with the highest level of orders nishan el kamal , a decoration reserved exclusively to members of the royal family and politicians.

Despite this recognition, the royal family rigidly opposed her potential marriage with the King's uncle, a rejection that deeply wounded her pride and led her to distance herself from the royal family and embrace grassroots causes, such as her answering the request of the Egyptian legion trapped in Falujah during the Arab-Israeli conflict to sing a particular song.

Among the army men trapped were the figures who were going to lead the bloodless revolution of July 23 , prominently Gamal Abdel Nasser , who was a big fan of Umm Kulthum and who would later become the president of Egypt. Early after the revolution, the Egyptian musicians guild of which she became a member and eventually president rejected her because she had sung for the then-deposed king, Farouk of Egypt.

When Nasser discovered that her songs were forbidden from being aired on the radio, he reportedly said something to the effect of "What are they? Do you want Egypt to turn against us? Umm Kulthum was also known for her continuous contributions to charity works for the Egyptian military efforts. Her songs deal mostly with the universal themes of love, longing and loss.

They are nothing short of epic in scale, with durations measured in hours rather than minutes. A typical Umm Kulthum concert consisted of the performance of two or three songs over a period of three to four hours. In the late s, due to her age and weakened vocal abilities, she began to shorten her performances to two songs over a period of two and a half to three hours.

These performances are in some ways reminiscent of the structure of Western opera , consisting of long vocal passages linked by shorter orchestral interludes. However, Umm Kulthum was not stylistically influenced by opera and she sang solo most of her career. During the s, her repertoire took the first of several specific stylistic directions.

Her songs were virtuosic, as befit her newly trained and very capable voice, and romantic and modern in musical style, feeding the prevailing currents in Egyptian popular culture of the time. She worked extensively with texts by romantic poet Ahmad Rami and composer Muhammad al-Qsabji, whose songs incorporated European instruments such as the violoncello and double bass as well as harmony.

Umm Kulthum's musical directions in the s and early s and her mature performing style caused this period to be popularly called the "golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early s she requested songs from composer Zakariya Ahmad and colloquial poet Bayram al-Tunisi cast in styles considered to be indigenously Egyptian.

This represented a dramatic departure from the modernist romantic songs of the s, mainly led by Mohammad El-Qasabgi, whom Umm Kulthum abstained from singing his music since the early s, their last stage song collaboration being "Raq el habib" The lover's heart softens , one of her most popular, intricate and high caliber songs The reason for this abstinence is not clear.

It is speculated that this was due in part to the popular failure of the movie Aida, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera. Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot to Asmahan , a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before her tragic death in a car accident in Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati.

While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more beautiful and more acceptable by Umm Kulthum's audience. In , Umm Kulthum defied all odds by presenting during her monthly concerts a religious poem in classical Arabic, "salou qalbi" ask my heart , written by Ahmad Shawqi the prince of poets and composed by Sombati. The success was immediate and huge; it also reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammad Abd el Wahab.

Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "woulida el Houda" the Prophet is born; , in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists". At the peak of her career, in , Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyam's quartets Rubayyiat el Khayyam.

The song included quartets that dealt with both epicurism and redemption. While this is debatable as Umm Kulthum vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammad Abd el Wahab.

The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity. An improvisatory technique, which was typical of old classical Arabic singing and which she wonderfully executed for as long as she could have both her regressing vocal abilities with age and the increased westernization of Arabic music became an impediment to this art , was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales maqam each time to bring her audiences into a euphoric and ecstatic state.

The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of 5 years , the listener is offered a totally unique and different experience.

This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were min in duration, such as the three available renditions, including the commercial version of El Awwila fi'l gharam first in love , and ana fi intizarak commercial and performance.

On the other hand, her songs as of the mid s would extend sometimes over a duration of two hours premiere of Enta Omri, Enta el Hobb etc It is located on the site of the former house of the singer. Umm Kulthum has been a significant influence on a number of musicians, both in the Arab World and beyond.

Among others, Jah Wobble has claimed her as a significant influence on his work. Bob Dylan has been quoted as saying, "She's great. She really is. Really great. Umm Kulthum is remembered in Egypt, the Middle East, and the Arab world as one of the greatest singers and musicians to have ever lived.

It is difficult to accurately measure her vocal range at its peak, as most of her songs were recorded live, and she was careful not to strain her voice due to the extended length of her songs.

Even today, she has retained a near-mythical status among young Egyptians. She is also notably popular in Israel among Jews and Arabs alike, and her records continue to sell about a million copies a year. Housed in a pavilion on the grounds of Cairo's Manesterly Palace, the collection includes a range of Umm Kulthum's personal possessions, including her trademark sunglasses and scarves, along with photographs, recordings, and other archival material.

Her remarkable ability to produce approximately 14, vibrations per second with her vocal cords , her unparalleled vocal strength no commercial microphone utilized for singing could withstand its strength, forcing her to stand at a 1- to 3-meter radius away from one , and her voice's unique and breathtaking beauty that surpassed convention arguably made her the most incomparable voice of all time.

Her ability and capability to sing every single Arabic scale makes her one of only five women in the history of the Arab world to be able to do this, along with Asmahan , Fairouz , and Sabah and the latest Thekra.


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Fadel shaker فضل شاكر

Je suis majdi fhaiel de kelibia en Tunisie. Je ne sais pas quoi dire, c'est mon chanteur préféré, Fadel Shaker est pour moi le meilleur de tous et mérite d'être nommé "safir alhoub". Je n'entends que lui et j'aimerais bien le rencontrer un jour, je l'espère bien, et se rendre bien sur à l'un de ces concerts. En ce moment ou je vous écrit j'entends "ROUH" c'est l'une de mes préférés. A la fin je lui souhaite une bonne continuation dans sa carrière. Dima Fadl Chakir. Vous chantez bien et vous méritez l'amour des spectateurs.